Posodobitev kurikularnega procesa na OŠ in GIMN

1. Posodobitev kurikularnega procesa na OŠ in GIMN International Baccalaureate – Music (Glasba na Mednarodni maturi) Viljem Babič Operacijo delno financira Evropska unija iz Evropskega socialnega sklada ter Ministrstvo za izobraževanje, znanost, kulturo in šport.

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5. POSLANSTVO IB • IB si prizadeva ustvariti program, ki bi dijakom omogočal, da bi se razvili v vedoželjne, strpne in sočutne ljudi, ki bi pomagali pri ustvarjanju lepšega sveta in miru v svetu – z medkulturnim razumevanjem in spoštovanjem. • S tem namenom IB sodeluje s šolami ter vladnimi in mednarodnimi organizacijami, ki ji pomagajo pri razvijanju zahtevnim učnih programov na področju mednarodnega izobraževanja ter pri natančnem in temeljitem preverjanju znanja. • Ti programi spodbujajo dijake po vsem svetu k aktivnosti, sočutju in vseživljenjskemu učenju, pa tudi k razumevanju in sprejemanju drugih in drugačnih ljudi.

6. PROFIL DIJAKA V MEDNARODNI MATURI - MM IB learners strive to be: • Inquirers • Knowledgeable • Thinkers • Communicators • Principled • Open-minded • Caring • Risk-takers • Balanced • Reflective

11. MUSIC - ASSESMENT OBJECTIVES / CILJI OCENJEVANJA PRI GLASBI Having followed the music course at SL or HL, students will be expected to demonstrate: • knowledge, understanding and perception of music in relation to time, place and cultures, • appropriate musical terminology to describe and reflect their critical understanding of music, • comparative analysis of music in relation to time, place and cultures (unlike at SL, HL students are also expected to demonstrate this in response to pieces not previously studied), • creative skills through exploration, control and development of musical elements (SLC, HL), • performance skills through solo music making (SLS, HL) or group music making (SLG), • critical-thinking skills through reflective thought.

13. Musical perception – SL in HL • obvezen del programa za vse dijake SL in HL, • spoznavanje, analiziranje, raziskovanje glasbe sveta in različnih glasbenih kultur skozi zgodovino, • dijaki razvijajo slušno zaznavanje in analitično razumevanje poslušanih skladb skozi glasbene elemente (npr. oblika, tempo, dinamika, melodija, …), različne notacije, glasbeno terminologijo in zgodovinsko-družbeni kontekst, • dijaki vzpostavljajo glasbene povezave (musicallinks) med skladbami študija in vsakdanjika. STUDY OF TWO PRESCRIBED WORKS (2010-2012:Mozart & Copland) • različno glasbeno obdobje, čas, prostor in kultura, • analiza, raziskava, primerjava.

14. OCENJEVANJE (EXTERNAL & INTERNAL ASSESMENT) MUSICAL LINKS INVESTIGATION CREATING PERFORMING LISTENING PAPER

15. EKSTERNO OCENJEVANJEosnovni nivo (SL)75 UR50% končne ocene Slušni izpit – 2h15min – 30% „Raziskovalna“ naloga – 20%

17. INTERNO OCENJEVANJEosnovni nivo (SL)75 UR50% končne ocene Ustvarjanje / Creating(SLC) Solistični nastop / Solo performing (SLS) Skupinski nastop / Group performing (SLG)

19. EKSTERNO OCENJEVANJE Pisni izpit (tri metode ocenjevanja): • navodila za ocenjevanje (markscheme), • natančni ocenjevalni kriteriji (assessmentcriteria), • merila za ocenjevanje (markbands). Raziskovalna naloga / Musicallinksinvestigation: • natančni ocenjevalni kriteriji (assessmentcriteria).

21. KRITERIJI EKSTERNEGA OCENJEVANJAPISNI IZPIT Section A (SL in HL) This criterion concerns the student’s ability to: • question 1 or question 2 - analyseand examine essential musical elements (including form and structure) within one of the two prescribed works, • question 3 - compare and contrast the two prescribed works, emphasizing the presence of anysignificantmusicallinks.

23. Section B (SL in HL) A Musical elements / 0 – 5 marks B Musical structure / 0 – 5 marks C Musical terminology / 0 – 5 marks D Musical context / 0 – 5 marks

24. A Musical elementsThis criterion concerns the student’s ability in each extract to perceive the musical elements (duration, pitch,timbre/tone colour, texture and dynamics) and their significance. Articulation and other expressive andproduction techniques might also be discussed.

25. B Musical structureThis criterion concerns the student’s ability to perceive the principal structural features of each extract.

26. C Musical terminologyThis criterion concerns the student’s knowledge of musical terminology and its appropriate use.

27. D Musical contextThis criterion concerns the student’s ability to place each extract in its musical context—cultural, historicaland stylistic—and relate it to music that he or she knows.

28. KRITERIJI INTERNEGA OCENJEVANJASOLISTIČNI ALI SKUPINSKI NASTOP A Izbira programa (Selection of programme) B Tehnika (Technical proficiency) C Razumevanje stila glasbe (Understanding of style) D Glasbena komunikacija (Musical communication)

29. A Izbira programa (Selection of programme)This criterion concerns the choice of contrasting pieces that feature thestudent’s/group’s capabilities, andthe fulfillment of the accompanimentrequirements.

30. B Tehnika (Technical proficiency)This criterion concerns the control of musical elements (duration, pitch, timbre/tone colour, texture anddynamics, form and structure) through appropriate and consistent technique as demonstrated in theselected presentation.

31. C Razumevanje stila glasbe (Understanding of style)This criterion concerns the student’s/group’s understanding of the particular style of each musical piece within the selected presentation.

32. D Glasbena komunikacija (Musical communication)This criterion is concerned with the extent to which the student/group communicates their musical recreation to an audience.

33. KRITERIJI INTERNEGA OCENJEVANJAUSTVARJANJE (CREATING) – SLC, HL

34. OCENE v programu mednarodne mature1 - 7 Grade 7 Excellent • Demonstrates: in-depth and comprehensive knowledge and understanding of the media used, with precise use of terminology to communicate this understanding. • Highly effective use of research, investigation and technical skills. • In-depth understanding of artistic intention and engagement with the artistic process demonstrated in consistent development of ideas, creativity and critical reflection. Grade 6 Verygood • Demonstrates: detailed knowledge and understanding of the media used, with appropriate and consistent use of terminology to communicate this understanding. • Effective use of research, investigation and technical skills. • Understanding of artistic intention and engagement with the artistic process demonstrated in development of ideas, creativity and critical reflection. Grade 5 Good • Demonstrates: sound knowledge and understanding of the media used, with appropriate use of terminology to communicate this understanding. • Research, investigation and technical skills are evident and sometimes well developed. • Evidence of understanding of artistic intention and the artistic process and development of ideas,creativityandcriticalreflection.

35. Grade 4 Satisfactory • Demonstrates: secure knowledge and understanding of the media used, with appropriate use ofterminology to communicate this understanding. • Research and/or investigation skills are evident but not well developed. • Some understanding of artistic intention and the artistic process, that is, understanding of the workof others, the student’s own work and the connections between these. • Some evidence, through the student’s own work, of understanding of the artistic process.Technical skills are evident but not necessarily well developed. • There is some evidence of development of ideas and some evidence of creativity and criticalreflection. Grade 3 Mediocre • Demonstrates: basic knowledge and understanding of the media used, with some use ofterminology to communicate this understanding. • There is evidence of research and/or investigation but this remains undeveloped. • Partial understanding of artistic intention, that is, understanding of the work of others and the • student’s ownwork. • Evidence in the student’s own work of limited artistic process and technical skills. • Creativity and critical reflection emerge occasionally in the work.

36. Grade 2 Poor • Demonstrates: little knowledge and understanding of the media used, with limited use ofterminology. • There is evidence of superficial research and/or investigation. • The student’s own work demonstrates very limited artistic process, technical skills, creativity andcriticalreflection. Grade 1 Verypoor • Demonstrates: very little knowledge and understanding of the media used, with inadequate use ofterminology. • Irrelevantresearchand/or investigation. • The student’s own work demonstrates almost no artistic process, technical skills, creativity or criticalreflection.

37. May 2011 – overall grade boundaries Standard levelgroupperforming Grade: 1 2 3 4 5 6 7 Mark range: 0 – 14 15 – 31 32 – 49 50 – 61 62 – 74 75 – 86 87 – 100 Standard level solo performing Grade: 1 2 3 4 5 6 7 Mark range: 0 – 14 15 – 31 32 – 51 52 – 63 64 – 71 72 – 83 84 – 100

38. Component grade boundaries Solo performing (HL/SLS) Grade: 1 2 3 4 5 6 7 Mark range: 0 – 3 4 – 7 8 – 11 12 – 13 14 – 16 17 – 18 19 - 20 Group performing (SLG) Grade: 1 2 3 4 5 6 7 Mark range: 0 – 3 4 – 7 8 – 12 13 – 14 15 – 15 16 – 17 18 – 20 Paper 1 (Listening paper) (SLS, SLG, SLC) Grade: 1 2 3 4 5 6 7 Mark range: 0 – 12 13 – 25 26 – 41 42 – 54 55 – 66 67 – 79 80 – 100

39. Primer slušnega izpita_maj_2011 / Section A Either 1. Symphony No. 41 in C Major, K. 551 “Jupiter”by W A Mozart In movement four (“Molto Allegro”) locate the principle themes found in the exposition and discuss Mozart’s treatment of these themes in either the development (bar/measure158–224) or the coda (bar/measure356–end). [20 marks] Or 2. El Salón México by A Copland Demonstrate the rhythmic sophistication found in Copland’s El Salón México by discussing at least four elements/features in the passage between rehearsal numbers 11–27(bar/measure103–267). [20 marks] 3. Symphony No. 41 in C Major, K. 551 “Jupiter”by W A Mozart and El Salón México by A Copland Through the link of thematic development, compare Copland’s El Salón México to any one movement (with exception of the fourth movement) of Mozart’s “Jupiter” Symphony. [20 marks]

40. Primer slušnega izpita_maj_2011 / Section B Either 4. Short Ride in a Fast Machine by J Adams(no score provided) Analyse,examine and discuss in detail what you hear in this extract. [20 marks] Or 5. First movement from Symphony No. 1, Op. 25 “Classical” by S Prokofiev(score provided) With clear reference to the score provided, analyse, examine and discuss in detail what you hear in this extract. [20 marks] 6. Unidentified Piece (no score provided) Analyse, examine and discuss in detail what you hear in this extract. [20 marks] 7. Unidentified Piece (no score provided) Analyse, examine and discuss in detail what you hear in this extract. [20 marks]

41. MARKSCHEMEShort Ride in a Fast Machine by J Adams(no score provided) Musical elements The track consists of a number of passages with thick, chordaltextures, set against the consistenttapping of a wood block and other instruments playing various subdivisions, which overlap andcreate shifts of patterns against the beat, giving rise to irregular and fast-changing rhythms. Musical structure There are many possible interpretations of the structure of this excerpt. Here is one of them. However, candidates are not expected to give such detail. 0:00 The wood block starts alone, playing fast crotchet beats, quickly joined by ostinato on the clarinets and then four trumpets playing a major triad with added 6th on the strong beat. Introduction of other instruments – woodwind, lower brass. 0:14 New chord (one tone lower) intermeshed with the opening chord, followed by flute and piccolo flourishes and addition of snare drum. 0:34 Rhythm briefly becomes more regular before developing into polyrhythms. 0:39 The flute and piccolo flourish is extended. 1:02 New section, with new major chord, bass drum and strings, with a gradual addition of instruments, notes and increasingly complex harmonic material building to a climax –French horns have hunting calls/rips. 1:40 New section, lower pitched wood block with tambourine, and the bass section seemingly in a different time signature, with trumpet stab chords slowly increasing in frequency. Chords with added notes, and a building of dissonant texture. 2:31 New bass theme repeated in lower instruments of the orchestra.

42. Musicalterminology Some of the words that could be relevant to criterion C include (but are not limited to): rhythmicostinato, crossrhythms, regularpulse, metricdisplacement, motivic, homophonicchords, layering, polyrhythm, polymeters, dissonance. Musicalcontext • American. • John Adams – born in 1947. • Minimalist. • This piece dates from 1986. • Commissioned for the Great Woods Festival and premiered by the Pittsburg Symphony Orchestra. Hence the original title “Fanfare for Great Woods”. • Some candidates may relate this excerpt to film music.

43. MLI - primer

44. CREATING - primer